Raum für Kunst, Aachen, 2011

Wilhelm Hack Museum, Ludwigshafen, 2012

If one follows this logic, all presentday paintings can actually only be sentimental, melancholic or ironical simulations of paintings, as the tradition of painting came to an end with the appearance of the first empty canvases. A great number of paintings being created through various methods of appropriation or quotation is indeed meant to indicate just that. But on closer examination, one will quickly realise that the subtly polished and scraped surfaces of Pedro Boese ́s paintings deal less with a distance from but rather a strong affinity to painting and the struggle to inscribe new dimensions into the two-dimensional surface. In this respect the physical exertion which is connected with the operation on the plates can be interpreted as the psychologically motivated attempt to withdraw from the grip of history. (...) "

Essay by Susanne Prinz published in the catalogue "monomodul", Raum für Kunst, Aachen 2011.